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Inge King Sold at Auction Prices

Sculptor, b. 1915 - d. 2016

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      • INGE KING, BEACON, 2011
        Feb. 27, 2024

        INGE KING, BEACON, 2011

        Est: $60,000 - $80,000

        INGE KING (1915 - 2016) BEACON, 2011 stainless steel 91.0 cm (height, including base) inscribed at base: IK PROVENANCE Australian Galleries, Melbourne Private collection, Melbourne, acquired from the above on 16 September 2011 Thence by descent Private collection, Melbourne EXHIBITED Inge King: Summer Solstice, Australian Galleries, Melbourne, 15 September - 9 October 2011, cat. 6 LITERATURE Grishin, S., The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 360, 380 © Inge King/Copyright Agency 2024 This work is located in our Melbourne Gallery

        Deutscher and Hackett
      • INGE KING 1915-2015
        Sep. 05, 2023

        INGE KING 1915-2015

        Est: $8,000 - $11,000

        “Lady” Patinated welded steel, signed Inge King verso. Set up for wall mounting. 160cm

        McKenzies Auctioneers
      • INGE KING 1915-2016 Rings of the Moon (2) (2006) stainless steel 62 x 90 x 90 cm
        Aug. 23, 2023

        INGE KING 1915-2016 Rings of the Moon (2) (2006) stainless steel 62 x 90 x 90 cm

        Est: $45,000 - $65,000

        INGE KING 1915-2016 Rings of the Moon (2) (2006) stainless steel signed 'I.K.' on base 62 x 90 x 90 cm PROVENANCE Inge King, Melbourne Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 5 May 2006 EXHIBITED Inge King: Birds and Celestial Rings, Australian Galleries, Melbourne, 9-28 May 2006, no. 4, illustrated LITERATURE Judith Trimble, Inge King: Birds and Celestial Rings, Australian Galleries, Melbourne, 2006, n.p. (illustrated) Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 351, 352 (illustrated), 377

        Smith & Singer
      • § INGE KING 1915-2016 Monumental Sculpture for Brisbane High Court (Maquette I) (1992) polychrome bronze and paint, unique
        May. 02, 2023

        § INGE KING 1915-2016 Monumental Sculpture for Brisbane High Court (Maquette I) (1992) polychrome bronze and paint, unique

        Est: $8,000 - $12,000

        § INGE KING 1915-2016 Monumental Sculpture for Brisbane High Court (Maquette I) (1992) polychrome bronze and paint, unique 28 x 16 x 15 cm PROVENANCE Inge King, Melbourne Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 16 September 2011 EXHIBITED Summer Solstice, Australian Galleries, Melbourne, 15 September - 9 October 2011, no. 14 LITERATURE Judith Trimble and Ken McGregor, Inge King, Macmillan Art Publishing, Melbourne, 2009, p. 91 (illustrated), '1st Maquette from Brisbane High Court' Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 210, 211 (illustrated), 337, 338 (illustrated), 373

        Smith & Singer
      • INGE KING (1915-2016), Stellar Wheel 2010
        Mar. 29, 2023

        INGE KING (1915-2016), Stellar Wheel 2010

        Est: $50,000 - $70,000

        INGE KING (1915-2016) Stellar Wheel 2010 stainless steel 72.5 x 65.0 x 25.0 cm signed with initials to base: IK

        Menzies
      • INGE KING (1915-2016) Voodoo 1987 polychromed steel, edition of 6
        Oct. 04, 2022

        INGE KING (1915-2016) Voodoo 1987 polychromed steel, edition of 6

        Est: $25,000 - $35,000

        INGE KING (1915-2016) Voodoo 1987 polychromed steel, edition of 6 initialled at base: IK. 162 x 16cm PROVENANCE: Australian Galleries, Melbourne Private collection, Melbourne EXHIBITIONS: Inge King: An Exhibition of Sculpture, Australian Galleries, Collingwood, 13 - 30 April 1988 Inge King: Small Sculptures 1943 - 1994, Bendigo Art Gallery, Bendigo, September - October 1995 (another example) LITERATURE: Thomas, D., Inge King: Small Sculptures 1943-1994, Bendigo Art Gallery, Bendigo 1995, cat. no 27, p.13 (illustrated, another example) Grishin, S., The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne 2014, pp. 186, 334 (illustrated, another example) OTHER NOTES: As an early female pioneer of modern Australian sculpture in what was largely a male dominated arena, Inge King has become one of Australia's most well-known sculptors. Born in Germany, Inge moved to Australia in 1951 with her husband, Australian artist Grahame King. The couple were instantly entwined and pursued their artistic careers in Melbourne where Grahame held a studio space with fellow artists, Fred Williams and John Brack. In 1952 and looking for a place of permanent sanctuary, Inge and Grahame purchased a block of land in the outer Melbourne suburb of Warrandyte with the intentions of building a home. After meeting Robin Boyd, the architect agreed to design a studio-house with a modular structure that could expand to accommodate the artists' practice. Their home served as a haven, ever increasing Grahame's prints and Inge's sculptures extending through the house into the garden, serving as a testimony to the creative lives lived within. Inge spent most of her life in her studio. She would create small models made of balsa wood mounted onto a rotating stand on which she could study from every angle and artfully alter before the decision was made to develop into a steel maquette. Each work carefully considered the space and surroundings of where it might sit, which was of the highest of importance in her large works specifically. A radical shift in Inge's practice was introduced in the 1980s with a more figurative approach, as shown through the creation of Jabaroo (now part of the permanent collection at McClelland Sculpture Park, Victoria). This sculpture resembles a figure like form using polychrome metal plates, standing at 4 metres tall. The transformation of King's conceptual form, brought her not only a newfound confidence, but took her in a new direction rather than cultivate and expand her audience with work for which she had already become known. A further inspiration for her figurative form was the revival of Shamanism and tribal art, evoking a talismanic state through her works. In 1987 at the age of seventy-three, Inge created a body of ten works akin to an influence of totems, all standing assertive and strong, distinguished and monumental. Made of polychrome steel, Voodoo is dominant yet with a feminine stance and embodies Inge's genuis with line and form. These ten sculptures were shown with Australian Galleries, Collingwood, in 1988. Creating sculptures in her Warrandyte studio up until her death in 2016, it was the sheer breadth of Inge's approach and innovative techniques that led her to be one of Australia's most important sculptors, male or female. 'Inge, a liberated woman, a thinker of clarity and a massive achiever. The wellbeing of Australia's culture is richer for her' (Stuart Purves, Director of Australian Galleries) Hannah Ryan Art Specialist (1) Grishin. S, The Art of Inge King Sculptor, Macmillian Art Publishing, Australia, 2014, p.178 (2) Purves, S, Farewell Inge King, Australian Galleries, 2016, www.australiangalleries.com.au/farewell-inge-king/ (accessed: 6 September 2022)

        Leonard Joel
      • INGE KING 1915-2016 Lookout (Maquette for a City Plaza Sculpture) (1973) painted steel
        Apr. 12, 2022

        INGE KING 1915-2016 Lookout (Maquette for a City Plaza Sculpture) (1973) painted steel

        Est: $30,000 - $40,000

        INGE KING 1915-2016 Lookout (Maquette for a City Plaza Sculpture) (1973) painted steel 61 x 96.5 x 33 cm PROVENANCE Inge King, Melbourne Victor Mace Galleries, Brisbane James Baker, Brisbane, acquired from the above in 1978 Museum of Contemporary Art, Brisbane 143 Works from the Museum of Contemporary Art, Brisbane, Sotheby's Australia, Melbourne, 21 June 1992, lot 127 Harry Oviss, Melbourne, acquired from the above The Estate of the Late Harry Oviss, Melbourne EXHIBITED Inge King: Maquettes for Monumental Sculptures, Powell Street Gallery, Melbourne, 2-14 April 1973 The Kings, City of Mildura Arts Centre, Mildura, and tour, 1975-1976, no. 39, illustrated Inge King: Sculptures 1972-77, Victor Mace Galleries, Brisbane, 17 September - 7 October 1978, no. 7 LITERATURE Thomas G. McCullough, Margaret Plant and Lillian Wood, The Kings, City of Mildura Arts Centre, Mildura, 1975, (illustrated) Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, pp. 88 (illustrated), 89, 188, 200, 208 Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 137 (illustrated), 321 (illustrated), 369

        Smith & Singer
      • INGE KING, PLANET, 2009
        Feb. 22, 2022

        INGE KING, PLANET, 2009

        Est: $40,000 - $60,000

        INGE KING (1915 - 2016) PLANET, 2009 stainless steel 73.0 x 82.0 x 65.0 cm signed with initials at base: IK PROVENANCE Australian Galleries, Melbourne The National Australia Bank Art Collection, acquired from above in 2009 (label attached to base) EXHIBITED Inge King: Sculpture: Maquettes and Recent Work, Australian Galleries, Melbourne, July - September 2009 LITERATURE Grishin, S.,  The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 280 – 281 (illus.), 358, 379 Scarlett, K., 'Tough and Dedicated', Australian Art Review, Sydney, February – April 2010, p. 48 (illus.) RELATED WORK Rings of Saturn, 2005 – 06, stainless steel, 450.0 x 450.0 x 450.0 cm, in the collection of the Heide Museum of Modern Art, Melbourne Sun Dance, 2009, stainless steel, 89.0 x 126.0 x 107.0 cm, in the collection of Central Steel Equity, Melbourne ESSAY At the time of her death in 2016 at the age of 100, Inge King’s work had transformed her hometown of Melbourne, with her monumental sculptures such as Forward Surge, 1974 at the Arts Centre, Shearwater, 1994 – 95 at Southbank, and Sentinel, 2000 on the Eastern Freeway, becoming iconic city markers – recognised by tens of thousands of people, even if they remained unaware of the name or extraordinary achievements of the artist who made them.   When King emigrated to Australia with husband and fellow artist Grahame in 1951, she had already trained in Berlin, Glasgow, London and New York, accumulating considerable experience as a sculptor. Just two years later, she was one of the founding members of the Group of Four (along with Julius Kane, Clifford Last and Norma Redpath), which was established with the collective desire to create a sympathetic relationship between modern abstract sculpture and architecture. The Group was joined by Vincas Jomantas, Lenton Parr and Teisutis Zikaras in 19611, becoming Centre 5 – a seminal coterie that continued to champion a greater appreciation of modern sculpture and the inclusion of ambitious sculpture in contemporary Australian architecture.   As one of the first Australian sculptors to learn to weld2, King began to work exclusively in welded steel from the mid-1960s, creating work that could withstand Australia’s harsh conditions and hold its own in what seemed to her to then be a ‘strange, untidy landscape.’3 However, over time, she came to love and better the understand the Australian bush, with its cast of unique birds becoming part of her lexicon of totemic figures in the 1990s. As art historian Jane Eckett has surmised, ‘Her sculptures arose simultaneously from international modernism and from local environments, both natural and urban. With their monumental forms and impeccably smooth surfaces, they appeared products of a high formalist aesthetic. Yet her work refused such compartmentalisation, regularly returning to the figurative and the improvised, experimental – even joyful – nature of assemblage. Inge herself wisely accepted these contradictions, charry of rigid theorems’.4   Planet, 2009 is part of a series of ambitious ‘interstellar’ sculptures known as the Celestial Rings, 2004 – 14 which were inspired by televised images of outer space transmitted from the Hubble Telescope.5 These works were initially conceived in balsa wood by King and then cast in bronze and used as maquettes for larger works which were created by experienced fabricators. At scale, their commanding presence conveys an artist at the height of her powers; one with an extraordinary formal capacity, technical knowledge, and uncompromising eye. As she has said, ‘With the Celestial Rings series I begin by working on a small scale because it’s fast. Also, by doing this I am able to discover what will work on a large scale. I have a definite feeling for scale – I have a definite instinct of what will enlarge and what will not’.6 With its intersecting rings and planes of highly polished stainless steel, Planet encapsulates a sense of energy and movement, encouraging the viewer to do the same. This is a work to be experienced bodily, and in the round.   1. The exact date of Centre 5’s formation has been long contested. This is the date ascertained by Jane Eckett from Lenton Parr’s diaries in his papers in the State Library of Victoria, Melbourne. See Eckett, J. ‘Binary Star: Inge and Graham King’ in Hurlston, D. & Eckett, J., Inge King: Constellation, National Gallery of Victoria, Melbourne, footnote 60, p. 119 2. Scarlett, K., ‘Tough and Dedicated’, Australian Art Review, Sydney, February – April 2010, p. 48 3. Lancashire, R., The Age, 31 September 1992 as quoted at https://igking.info/inge-king-2/inge-king-the-early-years/ (viewed 18 December 2021) 4. Eckett, J., ‘Inge King: Full Circle’ in Inge King 26 November 1915 – 23 April 2016, booklet for memorial held at the National Gallery of Victoria, Melbourne, 9 May 2016, n.p. See http://igking.info/wp-content/uploads/memorial-booklet.pdf (viewed 18 December 2021) 5. Eckett, J., ‘Inge King Memorial Service’, http://igking.info/wp-content/uploads/Inge-King-eulogy-Jane-Eckett.pdf (viewed 18 December 2021) This series also includes the monumental public sculpture Rings of Saturn, 2005-06, which is sited at the entrance of Melbourne’s Heide Museum of Modern Art. 6. Hurlston, & Eckett, op. cit., p. 90   KELLY GELLATLY © Inge King/Copyright Agency 2022

        Deutscher and Hackett
      • INGE KING born 1915, Fiesta (Maquette) 1989-90
        Dec. 01, 2021

        INGE KING born 1915, Fiesta (Maquette) 1989-90

        Est: $25,000 - $35,000

        INGE KING born 1915 Fiesta (Maquette) 1989-90 polychrome steel 70.0 x 82.0 x 38.0 cm signed with initials to base: ik

        Menzies
      • INGE KING 1915-2016 Point of View (2002) bronze
        Nov. 16, 2021

        INGE KING 1915-2016 Point of View (2002) bronze

        Est: $6,000 - $9,000

        INGE KING 1915-2016 Point of View (2002) bronze signed 'IK' on base 20 x 14 x 12 cm PROVENANCE Inge King, Melbourne Private Collection, Melbourne, acquired from the above Private Collection, Melbourne, acquired from the above

        Smith & Singer
      • INGE KING, PEGASUS, 1991
        Nov. 10, 2021

        INGE KING, PEGASUS, 1991

        Est: $45,000 - $65,000

        INGE KING (1915 - 2016) PEGASUS, 1991 polychrome steel 124.0 cm height signed at base: Inge King PROVENANCE Private collection, Perth, acquired directly from the artist, November 2003 LIERATURE LITERATURE Grishin, S., The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne, 2014, p. 373 ESSAY Way back in 1966, the author, as a callow and wide-eyed student, visited Inge King’s studio-home in Melbourne’s outer suburb of Warrandyte. ‘The Kings’, as they were affectionately known, were a respected and dedicated couple. Even then it was clear that Grahame and Inge King’s devotion ran in two directions: one to the other and each to their own artistic practice. A rare, very fruitful and encompassing symbiosis seemed to energise their life and work. The house was brimming with artists’ prints (including Grahame’s), and Inge’s sculptures ran through the house, down into the studio and out in the garden. Here was a remarkable artistic life that was lived in and lived out. Everything had the warm look of being used rather than displayed; the atmosphere seemed patinated by aesthetic activity.   Inge King’s sculptures are well-known and widely represented in various collections, especially in and around her native Melbourne. Her large Forward Surge, 1972 – 74 at the Victorian Arts Centre and Sentinel, 2000 on the EastLink Freeway spring immediately to mind. Then, of course, there are the major works at The University of Melbourne ( Sun Ribbon, 1980 – 82); Heide Museum of Modern Art ( Rings of Saturn, 2005 – 06); McClelland Sculpture Park and Gallery ( Island Sculpture, 1991) and the National Gallery of Victoria ( Rings of Jupiter III, 2006). An exhaustive listing is published in Emeritus Professor Sasha Grishin’s magisterial study, The Art of Inge King Sculptor, 2014. Way back in 1966, the author, as a callow and wide-eyed student, visited Inge King’s studio-home in Melbourne’s outer suburb of Warrandyte. “The Kings”, as they were affectionately known, were a respected and dedicated couple. Even then it was clear that Grahame and Inge King’s devotion ran in two directions: one to the other and each to their own artistic practise. A rare, very fruitful and encompassing symbiosis seemed to energise their life and work. Their Robin Boyd designed home was brimming with artists’ prints, including Grahame’s, and Inge’s sculptures ran through the house, down into the studio and out in the garden. Here was a remarkable artistic life that was lived in and lived out. Everything had the warm look of being used rather than displayed; the atmosphere seemed patinaed by aesthetic activity. Inge King’s sculptures are well-known and widely represented in various collections, especially in and around her native Melbourne. Her large Forward Surge at the Victorian Arts Centre and Sentinel on the EastLink Freeway spring immediately to mind. Then, of course, there are the major works at The University of Melbourne ( Sun Ribbon), Heide Museum of Modern Art ( Rings of Saturn), McClelland Sculpture Park and Gallery ( Island Sculpture) and the National Gallery of Victoria ( Rings of Jupiter III). An exhaustive listing is published in Emeritus Professor Sasha Grishin’s magisterial study: The Art of Inge King Sculptor of 2014. King’s mature work Pegasus of 1991, created at the age of seventy-six, has a direct provenance and its unusual “windvane-like” format points to its extended sculptural significance. The visually striking steel sculpture has a beacon-like structure that uses a tripod base to support a series of forms suggesting the elongated mass of a body with an outstretched set of wings. The whole sits aloft a peak whose triangular outline is suggested by three large arcs. If the sculpture’s title is any guide the abstracted upper section of the sculpture may point to a link with the Greek myth of Pegasus, the winged horse upon the mountain of Helicon, a subject much favoured by the French artist Odilon Redon (1840-1916). Whatever the original ideational source, the sculpture’s three-dimensional format of held-aloft shapes atop a tripod base points to King’s later desire to “animate” and add “lift” to her sculptures during the early years of 2000, as exemplified by her contemporaneous Angel and Dance Series. If this is the credible case, the formal elements together with the arrested dynamism and gestalt of King’s Pegasus of 1991 may be seen as related to the overall “visual language” of Sentinel of 2000 , her earlier and much-admired monumental commission (13 metres) for Melbourne’s EastLink Freeway. Each of these two distinctive sculptures echo the transmutational processes that King’s creative mind so often employed. Considered in these ways, King’s Pegasus of 1991 presents as a rare and significant indicator of her main creative preoccupations during the early years of 2000; that is, how to combine cut-out forms and collage shapes into non-volumetric compositions that convincingly coax two-dimensional planar elements into three-dimensional masses. KEN WACH © Inge King/Copyright Agency 2021

        Deutscher and Hackett
      • INGE KING (1915-2016), Dancer 1992
        Jun. 30, 2021

        INGE KING (1915-2016), Dancer 1992

        Est: $9,000 - $14,000

        INGE KING (1915-2016) Dancer 1992 bronze 23.0 x 12.0 x 25.0 cm unique signed with initials to base: IK

        Menzies
      • INGE KING (1915-2016) Venus bronze, unique cast
        Jun. 08, 2021

        INGE KING (1915-2016) Venus bronze, unique cast

        Est: $18,000 - $24,000

        INGE KING (1915-2016) Venus bronze, unique cast 102.5cm (height) PROVENANCE: Private collection, Melbourne Thence by descent EXHIBITIONS: Sculpture, Australian Galleries, Sydney, 8 April - 1 May 1997, cat. no. 3 OTHER NOTES: From her arrival in Australia in 1950, Inge King AM was one of Australia's most dynamic and revered sculptors. She was a pivotal part of the Centre 5 group, founded in 1961, whose aim was to increase public awareness of sculpture within Australia. The group included Julius Kane, Lenton Parr, Vincas Jomantas, Clifford Last and Norma Redpath. By the 1990s, Inge King was one of Australia's most recognised sculptors, with decades of exhibition history and major public commissions already under her belt. But, it was this particular decade that saw a return to figuration and the processes of collage in her work. The technique she used, largely the assemblage of abstract forms in steel or bronze, was in some ways a return to her earlier 1940s and 1960s work. This new direction for Inge stemmed from a major commission she was awarded for a Melbourne office foyer. The work, titled Joie de vivre, was constructed from a series of flat abstract planes, originally created in fibreboard and then each plane cast into bronze. Each plane was then assembled and fixed with a welder, and finally the surface coloured and patinated. Inge followed this method throughout the next decade, where her sculptures took on the forms of gods, angels, and celestial beings. This new subject matter "extends the trend begun with the totemic figures of the 1980s and has much significance for the large body of works involving rings created throughout the 2000s" (Sasha Grishin). Whilst her angels display a sense of movement, Inge's gods exhibit a quiet solemnity and monumentality. Her representation of Helios 1992, the god of the sun, stands firmly with large semi-circular discs held high in glory, facing upwards to the light resembling both the sun's shape and the outline of wings. Similarly, Inge's Venus, the goddess of love and beauty, exhibits a strong central line standing at just over one metre in height. Representations of Venus in history centre on fertility and femininity, often depicting her wearing a crown and in nude form. In Inge's sculpture here we see Venus standing strong and tall, her womanly shape possibly noted through the circular breasts before her crown-shaped head with a regal bearing. She is strong, imposing, alluring and powerful much like Venus herself. Olivia Fuller, Head of Art

        Leonard Joel
      • INGE KING (1915-2016) Constellation 1999
        Nov. 19, 2020

        INGE KING (1915-2016) Constellation 1999

        Est: $6,000 - $9,000

        INGE KING (1915-2016), Constellation 1999 patinated bronze 21.5 cm height unique signed with initials to base: iK

        Menzies
      • INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm
        Nov. 18, 2020

        INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm

        Est: $12,000 - $18,000

        INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm PROVENANCE Inge King, Melbourne Mrs Rae Rothfield, Melbourne, acquired from the above in May 1989 EXHIBITED Inge King, Australian Galleries, Melbourne, 13-30 April 1988, no. 4, illustrated LITERATURE David Thomas, Inge King: Small Sculptures 1943-1994, Bendigo Art Gallery, Bendigo, 1995, p. 13 (illustrated) Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, pp. 135, 139 (illustrated), 204, 210 Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 187 (illustrated), 333 (illustrated), 371

        Smith & Singer
      • INGE KING 1915-2016 Great Boulder (1967-1968) painted steel, unique 212 x 106.5 x 99 cm
        Jun. 24, 2020

        INGE KING 1915-2016 Great Boulder (1967-1968) painted steel, unique 212 x 106.5 x 99 cm

        Est: $50,000 - $70,000

        INGE KING 1915-2016 Great Boulder (1967-1968) painted steel, unique 212 x 106.5 x 99 cm PROVENANCE Private Collection, Sydney Private Collection, New South Wales, by descent from the above LITERATURE Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, pp. 62 (illustrated), 63, 199 Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 94, 96 (illustrated), 318 (illustrated), 368

        Smith & Singer
      • INGE KING (1915-2016) Angel (Maquette) 1993 bronze, unique cast
        Jun. 02, 2020

        INGE KING (1915-2016) Angel (Maquette) 1993 bronze, unique cast

        Est: $12,000 - $18,000

        INGE KING (1915-2016) Angel (Maquette) 1993 bronze, unique cast initials inscribed on side of base title, date and medium inscribed on label at base 27 x 20 x 12cm (irregular) PROVENANCE: Gifted to the vendor by Mark Strizic, 2010 Private collection, Melbourne LITERATURE: Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, p.374. OTHER NOTES: During the 20th century, Inge King became one of the most prominent Modern sculptors in Australia. With a career spanning across eight decades, her remarkable story of becoming a sculptor began after fleeing Germany during the Second World War. Settling for a short time in England, King was accepted into the Glasgow School of Art where she honed her skills in sculpture and focused her practice on carving. Eventually fleeing Europe all together, King travelled to America where she met artists Mark Rothko and Jackson Pollock who had a profound impact on her work. Influenced by her engagement with Abstract Expressionism in New York, she began creating non-representational sculpture inspired by the Australian landscape. It was at this point that she became a founding member of the noteworthy Centre 5 Group of sculptors in Melbourne, where she eventually settled with husband and fellow artist, Graham King. In the late 1950's King made the transition to bronze as her primary medium. A common career move for many sculptors in their careers, as this allowed them to produce large scale public commissions while also creating revenue by casting smaller editioned works for exhibitions and collectors. King somewhat personalised her method of production by working with flat shapes as her foundation. By cutting shapes out of paper, she was able to incorporate collage and assemblage into her practice while working towards her final product in metal. Angel (maquette) 1996, is characterised by the placement of two-dimensional sheets connected to create a concept of movement. Angel reflects a body of works King produced late in her career, at a time where she had long been considered a veteran in the arts. The use of flat sheets of metal were also a response to King's fascination with light and the reflective qualities of her works, particularly when placed outdoors. King won significant public commissions including 'Forward Surge' situated at the National Gallery of Victoria, Sun Ribbon at Anzac Parade in Canberra with many large-scale works found in public spaces and in institutions. Inge King was honoured with a Member of The Order Australia in 1984, for her contribution to the arts and her role in the development of modern sculpture in Australia. ©Inge King/ Copyright Agency, 2020 Related Work: Singing Child 1993, Trimble, J., Inge King Sculpture, Art and Australia and Craftsman House, Sydney, 1996, p.164 (illus)

        Leonard Joel
      • INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm
        Oct. 23, 2019

        INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm

        Est: $15,000 - $20,000

        INGE KING 1915-2016 Bird Symbol (1986) painted polychrome steel 204 x 33 x 28 cm PROVENANCE Inge King, Melbourne Mrs Rae Rothfield, Melbourne, acquired from the above in May 1989 EXHIBITED Inge King, Australian Galleries, Melbourne, 13-30 April 1988, no. 4, illustrated LITERATURE David Thomas, Inge King: Small Sculptures 1943-1994, Bendigo Art Gallery, Bendigo, 1995, p. 13 (illustrated) Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, pp. 135, 139 (illustrated), 204, 210 Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 187 (illustrated), 333 (illustrated), 371

        Smith & Singer
      • INGE KING 1915-2016 Untitled (1960s) welded steel 28.2 x 16 x 13 cm
        Oct. 23, 2019

        INGE KING 1915-2016 Untitled (1960s) welded steel 28.2 x 16 x 13 cm

        Est: $4,000 - $6,000

        INGE KING 1915-2016 Untitled (1960s) welded steel 28.2 x 16 x 13 cm PROVENANCE Niagara Galleries, Melbourne Mrs Rae Rothfield, Melbourne, acquired from the above on 18 April 1997

        Smith & Singer
      • INGE KING 1915-2016 Bush Family (1960, cast 1989) bronze, edition of 6 cast in 1989 33.5 x 24 x 12.5 cm
        Oct. 23, 2019

        INGE KING 1915-2016 Bush Family (1960, cast 1989) bronze, edition of 6 cast in 1989 33.5 x 24 x 12.5 cm

        Est: $6,000 - $9,000

        INGE KING 1915-2016 Bush Family (1960, cast 1989) bronze, edition of 6 cast in 1989 signed 'ik' on base 33.5 x 24 x 12.5 cm PROVENANCE Inge King, Melbourne Mrs Rae Rothfield, Melbourne, acquired from the above in May 1989 LITERATURE Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, p. 197 (illustrated) Sasha Grishin, The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 83 (illustrated), 312 (illustrated), 366

        Smith & Singer
      • INGE KING (1915-2016), Rings of the Sun III 2004
        Jun. 27, 2019

        INGE KING (1915-2016), Rings of the Sun III 2004

        Est: $160,000 - $200,000

        INGE KING (1915-2016), Rings of the Sun III 2004 stainless steel 200.0 x 200.0 x 235.0 cm Private commission for the Corval company collection, Melbourne Private collection, Melbourne Menzies, Sydney, 30 November 2017, lot 39 The private collection of Mr Rodney Menzies

        Menzies
      • INGE KING, (1915 – 2016) , UNFOLDING FORM (MAQUETTE), c.1962, painted steel
        Nov. 28, 2018

        INGE KING, (1915 – 2016) , UNFOLDING FORM (MAQUETTE), c.1962, painted steel

        Est: $30,000 - $40,000

        INGE KING, (1915 – 2016) , UNFOLDING FORM (MAQUETTE), c.1962, painted steel DIMENSIONS: 138.0 cm height PROVENANCE: Mr Graham Ducker, Sydney, acquired directly from the artist Thence by descent Private collection, Sydney LITERATURE: Grishin, S., The Art of Inge King Sculptor, 2014, Macmillan Art Publishing, Melbourne, p. 367 RELATED WORK: Unfolding Form, 1962, steel painted black, 152.4 cm height, formerly private collection, Adelaide, illus. in Grishin, S., The Art of Inge King Sculptor, 2014, Macmillan Art Publishing, Melbourne, p. 94 ESSAY: Inge King, an émigré artist from central Europe, was so moved by the power of the Australian landscape that she sought to create sculptural works expressing her experience of this new place, resistant to and reflective of the heat and light that characterises the land . Unfolding Form (Maquette), c.1962 belongs to an important series of the artist’s non-representational welded assemblages which is characterised by the careful placement of two-dimensional planes to create tension and movement. Taking their visual cues from the prevailing idiom of contemporary constructed sculpture that was pure geometry and gestural expressionism, these works are reminiscent of those by artists such as Lynn Chadwick and Clement Meadmore, particularly his early planar constructions. Within King’s larger oeuvre, the series of planar forms lies between more organic early assemblages and the volumetric explorations of her Boulder series. Clustered around a central vertical axis, the tightly integrated planes of Unfolding Form (Maquette) seem to do just that – unfold. Unfurling progressively like an accordion, the flat sheets of cut metal are arranged on a base to provide a myriad of disparate viewpoints. The unequal size and height of each plane creates an expanded arena in which to explore the play of light and shadow, producing effects of spatial enclosure and dissection. For King, an artist who remarkably found early public endorsement for monumental works, the creation of maquettes was central to her practice and these now account for a large proportion of her works in private collections. This version of Unfolding Form is significant, not only because it is among the last of her planar works of the early 1960s, but also because it is the last remaining example of this construction. Its related work, the larger Unfolding Form, was unfortunately destroyed by bushfires in the Adelaide Hills in 1984.1 Standing at a mere 12 cm taller than this maquette, Unfolding Form was installed en plein air, atop a naturally formed boulder. Inspired by the work of her Melburnian peer, Lenton Parr, Inge King took up welding in 1959. Facing not insignificant public hostility to sculpture as well as a local cultural climate sceptical about abstract art, King nevertheless used this new skill to translate the liberated gestures of Abstract Expressionism into three dimensions. Edward Lucie-Smith, in his survey of modern sculpture, was careful to note that this new expressionist style was executed by sculptors with greater difficulty than it had been by painters.2 As her welding skills developed, King sought out techniques beyond her primary need to join multiple planes of sheet metal, and instead looked for ways of creating visually interesting texture. Unfolding Form (Maquette) exemplifies this achievement, in spite of its marked restriction of formal means. Balancing vertical and horizontal tension, the visibility of each plane of Unfolding Form (Maquette) relies on the contrast between smooth cut surface and raised beads of molten steel, lying along the edges of each sheet and in the recesses between them. It is through these surprising embellishments and juxtapositions that we feel the presence

        Deutscher and Hackett
      • INGE KING (1915-2016), Shearwater II 1994
        Apr. 26, 2018

        INGE KING (1915-2016), Shearwater II 1994

        Est: $20,000 - $30,000

        INGE KING (1915-2016), Shearwater II 1994 painted composition board assemblage 100.0 x 68.0 x 85.0 cm unique| signed with initials to base: IK Private commission for the Esso Australia (later ExxonMobil), Melbourne, 1994 Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, p.374

        Menzies
      • INGE KING, (1915 – 2016), STELLAR WHEEL, 2010, stainless steel
        Apr. 18, 2018

        INGE KING, (1915 – 2016), STELLAR WHEEL, 2010, stainless steel

        Est: $35,000 - $45,000

        INGE KING, (1915 – 2016), STELLAR WHEEL, 2010, stainless steel SIGNED: signed with initials at base: IK DIMENSIONS: 71.5 cm height (including base) PROVENANCE: Private collection, Adelaide, acquired directly from the artist in 2011 LITERATURE: Grishin, S., The Art of Inge King Sculptor, 2014, Macmillan Art Publishing, Melbourne, pp. 348, 359, 360 (illus.), 380 ESSAY: In brilliant contrast to Inge King’s expressive and brooding early assemblages (see lot 37), Stellar Wheel, 2010 glimmers with a futuristic presence. An example of King’s final Celestial Rings series , Stellar Wheel is the product of the convergence of many different lines of inquiry in her oeuvre: the circular form, process-driven art making and expressions inspired by new discoveries in science and technology. Created late in life, many of these works reused elements and compositional structures from earlier sculptures. Stellar Wheel itself is closely related to an unpatinated bronze sculpture from 2002 called Capriccio. Both feature flat segments of a circle, arranged in a fragmented mandala radiating from a central void. It was with youthful exuberance that King harnessed her excitement about the dawn of a new century, and the technological progress that would accompany this transition. She translated her excitement into monumental works featuring sacred geometry from which emanated a spiritual energy, describing the series as ’very positive … life affirming works’.1 Recalling her early wall sculptures, the mechanical precision of King’s approach allowed her to explore the inherent qualities of her chosen medium – steel. King chose to use stainless steel for her sculptures of celestial bodies, transforming it into sleek and shiny planes that would convey a movement and lightness in direct contrast to the heavy immobility of their physical reality. ’I use stainless steel to create lightness and floating movement’, she explained.2 The scintillating scoured surface of these steel planes (an effect created with an angle-grinder) evokes the swirling gases and matter of the universe. These surface striations also allowed for a greater range of reflective effects, incorporating the viewer into the artwork, but crucially, also encouraging them to move around it. These seams and marks are the only evidence of human intervention in this construction, functioning in a similar way to the molten beads of steel that clustered along the edges of her structures in the 1960s. The circular form had been a constant source of artistic inspiration for King since at least the 1970s. With increasingly reduced formal means, King created assemblages that were easily translated into monumental size. The energy that radiates from these works resides in the geometric tension between centrifugal and centripetal forces. The idea of movement, of rotational and cyclical rhythm, is alluded to in King’s title for this work, Stellar Wheel. The angular, interlocking design of each segment of the circular form marries contemporary machine aesthetic with designs reminiscent of ancient Celtic culture. In conjunction with a cosmic theme, the circular form comes to represent the dynamic and demiurgic nature of the universe, echoing the long-lasting presence Inge King created for herself in the landscape of Australian art. 1. The artist quoted in Hurlston, D., and Eckett, J., Constellation, National Gallery of Victoria, Melbourne, 2014 2. The artist quoted in Grishin, S., Inge King Sculptor, Macmillan, Melbourne, 2014, p. 260 LUCIE REEVES-SMITH

        Deutscher and Hackett
      • INGE KING, (1915 – 2016), UNFOLDING FORM (MAQUETTE), c.1962, painted steel
        Apr. 18, 2018

        INGE KING, (1915 – 2016), UNFOLDING FORM (MAQUETTE), c.1962, painted steel

        Est: $40,000 - $60,000

        INGE KING, (1915 – 2016), UNFOLDING FORM (MAQUETTE), c.1962, painted steel DIMENSIONS: 138.0 cm height PROVENANCE: Private collection, Sydney, acquired directly from the artist Thence by descent Private collection, Sydney LITERATURE: Grishin, S., The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne, 2014, p. 367 RELATED WORK: Unfolding Form, 1962, steel painted black, 152.4 cm height, formerly private collection, Adelaide, illus. in Grishin, S., The Art of Inge King Sculptor, Macmillan Art Publishing, Melbourne, 2014, p. 94 ESSAY: Inge King, an émigré artist from central Europe, was so moved by the power of the Australian landscape that she sought to create sculptural works expressing her experience of this new place, resistant to and reflective of the heat and light that characterises the land . Unfolding Form, (Maquette), c.1962 belongs to an important series of the artist’s non-representational welded assemblages which is characterised by the careful placement of two-dimensional planes to create tension and movement. Taking their visual cues from the prevailing idiom of contemporary constructed sculpture that was pure geometry and gestural expressionism, these works are reminiscent of those by artists such as Lynn Chadwick and Clement Meadmore, particularly his early planar constructions. Within King’s larger oeuvre, the series of planar forms lies between more organic early assemblages and the volumetric explorations of her Boulder series. Clustered around a central vertical axis, the tightly integrated planes of Unfolding Form (Maquette) seem to do just that – unfold. Unfurling progressively like an accordion, the flat sheets of cut metal are arranged on a base to provide a myriad of disparate viewpoints. The unequal size and height of each plane creates an expanded arena in which to explore the play of light and shadow, producing effects of spatial enclosure and dissection. For King, an artist who remarkably found early public endorsement for monumental works, the creation of maquettes was central to her practice and these now account for a large proportion of her works in private collections. This version of Unfolding Form is significant, not only because it is among the last of her planar works of the early 1960s, but also because it is the last remaining example of this construction. Its related work, the larger Unfolding Form, was unfortunately destroyed by bushfires in the Adelaide Hills in 1984.1 Standing at a mere 12cm taller than this maquette, Unfolding Form was installed en plein air, atop a naturally formed boulder. Inspired by the work of her Melburnian peer, Lenton Parr, Inge King took up welding in 1959. Facing not insignificant public hostility to sculpture as well as a local cultural climate sceptical about abstract art, King nevertheless used this new skill to translate the liberated gestures of Abstract Expressionism into three dimensions. Edward Lucie-Smith, in his survey of modern sculpture, was careful to note that this new expressionist style was executed by sculptors with greater difficulty than it had been by painters.2 As her welding skills developed, King sought out techniques beyond her primary need to join multiple planes of sheet metal, and instead looked for ways of creating visually interesting texture. Unfolding Form (Maquette) exemplifies this achievement, in spite of its marked restriction of formal means. Balancing vertical and horizontal tension, the visibility of each plane of Unfolding Form (Maquette) relies on the contrast between smooth cut surface and raised beads of molten steel, lying along the edges of each sheet and in the recesses between them. It is through these surprising embellishments and juxtapositions that we feel the presence of the late artist – having left clear traces of her hand burnt into the metal with a fierce oxy-acetylene flame. 1. Grishin, S., Inge King Sculptor, Macmillan Publishing, Melbourne, 2014, p. 367 2. Lucie-Smith, E., Sculpture since 1945, Phaidon, Oxford, 1987, p. 44 LUCIE REEVES-SMITH

        Deutscher and Hackett
      • INGE KING (1915-2016), Rings of the Sun III 2004
        Nov. 30, 2017

        INGE KING (1915-2016), Rings of the Sun III 2004

        Est: $150,000 - $200,000

        INGE KING (1915-2016), Rings of the Sun III 2004 INGE KING (1915-2016), Rings of the Sun III 2004 stainless steel, 200.0 x 200.0 x 235.0 cm , , Private commission for the Corval company collection, Melbourne Private collection, Melbourne

        Menzies
      • INGE KING, (1915 – 2016), SHOUTING ANGELS, 1994, bronze
        Nov. 29, 2017

        INGE KING, (1915 – 2016), SHOUTING ANGELS, 1994, bronze

        Est: $30,000 - $40,000

        INGE KING, (1915 – 2016), SHOUTING ANGELS, 1994, bronze SIGNED: signed and dated on base: Inge King 94 DIMENSIONS: 85.0 x 95.0 x 118.0 cm PROVENANCE: Australian Galleries, Sydney The Estate of the late James O. Fairfax AC, Sydney, acquired from the above in 1999 EXHIBITED: Recent Sculpture by Inge King, Australian Galleries, Sydney, 8 April 1999 – 1 May 1999, cat. 5 RELATED WORK: Singing Child, 1993, bronze, 82.0 x 41.0 x 68.0 cm, illus. in Trimble, J., Inge King Sculptor, Art and Australia and Craftsman House, Sydney, 1996, p. 164 ESSAY: Unfolding laterally in space like a flower, the forms of Inge King’s Shouting Angels,1994 are caught in an eternal tussle. A dynamic example of her refined series of ‘angel’ compositions, this work displays the verve and maturity of composition that characterised the late figurative works of the doyenne of Australian sculpture. Classically trained in the United Kingdom and Germany, King became a pre-eminent figure in the development of non-objective art in Australia, not only encouraging the application of a modernist aesthetic within the sculptural practice of her adoptive home, but also lobbying to integrate sculpture within the urban environment. Following on from the exuberant figurative works of 1992 and 1993, which translated balletic and gymnastic movement into static and planar forms, the works of King’s ‘angel series’ had simplified compositions, smoother outlines and a more marked spiritual presence. Assembled from disjointed and intersecting planes of sheet metal, Shouting Angels is at once a three-dimensional mass and a collage of flat surfaces assembled across dimensions. Rearticulating the interaction between the volume of a sculpture and the space around it, King’s works integrate negative space within their forms, rather than simply displacing it, creating sculptures that suggest a thousand different angles of vision. Graeme Sturgeon, eminent curator and scholar of Australian sculpture, wrote of the seductive and tantalising appeal of King’s sculptures: ‘we are denied any sense of formal predictability, the complexity of the relationship, and the distinctiveness of different views, mean that the work eludes our intellectual grasp, constantly renewing out interest as we move about it’.1 The late James O. Fairfax responded to the tense and balanced composition of Shouting Angels, displaying it on a pedestal in the gardens of his weekend home at Bilgola in Sydney’s northern beaches. In this environment, while the curved forms of the sculpture stretched out towards the horizon, the briny breeze created a pale green patina and the work carries this Verdigris surface proudly. The constantly evolving nature of outdoor sculpture was something that King enjoyed, declaring in 2006: ‘Multidimensional objects look different from every angle. The exciting thing about outdoor sculpture is the change with the light, the weather ... everything is in constant flux. It becomes almost a living entity’.2 Suspended in a tense opposite movement, the geometric forms that compose each of the angels’ figures are unapologetic and bold. Shouting Angels features clearer and more pronounced curved shapes than the earlier Joie De Vivre sculptures, inspired by Paul Klee’s schematic figuration as opposed to the gestural formalism of Matisse’s cut-outs that had fed into King’s earlier works. The disjunctive planes suggesting discord rather than the introspective humility of other works in the series, Shouting Angels illustrates King’s longstanding intention to visually translate the exquisite problems of human existence. 1. Sturgeon, G., ‘Inge King. An Obdurate Certainty’, Art and Australia, Sydney, vol. 51, no. 4, winter 2014, p. 533 2. The artist quoted in Sta

        Deutscher and Hackett
      • Inge King (1915-2016)
        Nov. 22, 2017

        Inge King (1915-2016)

        Est: $6,000 - $9,000

        Mother and Child, patinated bronze, together with working drawing, synthetic polymer paint on paper, signed l.r.c. 'Inge King' (2)

        Shapiro Auctioneers
      • INGE KING, (1915 – 2016), DERVISH (MAQUETTE II), 1991, polychrome steel
        Aug. 30, 2017

        INGE KING, (1915 – 2016), DERVISH (MAQUETTE II), 1991, polychrome steel

        Est: $15,000 - $20,000

        INGE KING, (1915 – 2016), DERVISH (MAQUETTE II), 1991, polychrome steel DIMENSONS: 70.0 cm height PROVENANCE Australian Galleries, Melbourne The Estate of the late James O. Fairfax AC, New South Wales, acquired from the above in 1991 EXHIBITED: Joie De Vivre: An Exhibition of Recent Sculptures by Inge King, Australian Galleries, Melbourne, September – October 1991 RELATED WORKS: Dervish, 1991, painted bronze, 167.0 x 132.0 x 100.0 cm, exhibited in Inge King: Large and Small Bronze Sculptures, Australian Galleries, Melbourne, 26 April – 22 May 1993 ESSAY: Teetering precariously with joyful and flamboyant expression, Inge King’s second maquette of Dervish is imbued with a sense of movement that contradicts the solidity of its assemblage. Although directly descended from her geometric totemic sculptures, King’s dancing silhouettes were the most figurative artworks of her later career. They retained the planar quality of her abstract works, becoming three-dimensional collages of sheet metal. Inspired by Henri Matisse’s iconic decoupages, 1 Dervish and its accompanying dancers interact with the space around them – the intersecting planes of their construction playing with depth and shadow, extending their outermost limits beyond the physical boundaries that confine them. The surprising addition of small elements of colour assisted the creation of ‘not only significance and shape, but also extremity, distance, and advancing and receding planes’. 2 While the seventies and eighties were characterised by the realisation of King’s abstract maquettes into large scale public sculptures, the decade that followed showed a radical reframing of the artist’s vision: smaller, autonomous objects, introduction of colour and clearer representational forms. Perhaps a product of her confidence as a mature sculptor, this new direction was joyful and showed a greater connection to her European artistic heritage. King was not alone in adopting a more figurative and object-based approach to sculpture in the latter half of the eighties, as Maudie Palmer noted in her review of Australian Sculpture Now, the Second Australian Sculpture Triennial at the National Gallery of Victoria in the summer of 1984 – 85. 3 James Fairfax acquired this maquette from the Joie de Vivre solo exhibition the artist held at Australian Galleries in Sydney, complementing her larger sculpture he already had installed in the gardens at Retford Park. Celebrating the joy of life, the sculptures of this exhibition synthesised human movement into single stylised static pose, embodying the pregnant moment, theorised by 18th century philosopher Gotthold Lessing, linking form to a temporal background. While the dancers are stylised, they are not idealised. The awkward poses they adopt evoke the recognisable movements of human expression, both performative and anodyne. King has also attempted to introduce a further sensory element – sound. Poised to stamp his foot on the ground, the dervish is suspended in action, his centre of gravity dangerously off-kilter. Critics at the time applauded the grace, ease and gaiety of the works in the exhibition at Australian Galleries, one even noted their musicality. King herself considered Joie de Vivre to have been her most important exhibition. 4 1. Inge King had a print of Henri Matisse’s Icarus hanging in her house. 2. Trimble, J., Inge King. Sculptor, Art and Australia and Craftsman House, Sydney, 1996, p. 141 3. Palmer, M., quoted in Trimble, J., op cit., p. 143 4. Trimble, J., op cit., pp. 148 – 149 LUCIE REEVES-SMITH Sydney Gallery Manager Deutscher and Hackett

        Deutscher and Hackett
      • INGE KING (1915-2016) Gemini (Maquette II) 1990
        Feb. 09, 2017

        INGE KING (1915-2016) Gemini (Maquette II) 1990

        Est: $18,000 - $25,000

        INGE KING (1915-2016) Gemini (Maquette II) 1990, painted steel, 54.5 x 65.0 x 40.0 cm unique inscribed: ik

        Menzies
      • INGE KING (1915-2016), Singing Child 1993
        Jun. 23, 2016

        INGE KING (1915-2016), Singing Child 1993

        Est: $30,000 - $40,000

        INGE KING (1915-2016) , Singing Child, 1993 bronze, 82.0cm x 41.0cm x 68.0 cm, unique

        Menzies
      • INGE KING born 1915 Fiesta (Maquette) 1989-90
        Sep. 24, 2015

        INGE KING born 1915 Fiesta (Maquette) 1989-90

        Est: $30,000 - $40,000

        INGE KING born 1915 Fiesta (Maquette) 1989-90 polychrome steel 70.0 x 82.0 x 38.0 cm signed with initials to base: i.k

        Menzies
      • INGE KING born 1918 Thoughtful Angel (Second Version) (1993) bronze
        Nov. 25, 2014

        INGE KING born 1918 Thoughtful Angel (Second Version) (1993) bronze

        Est: $40,000 - $60,000

        INGE KING born 1918 Thoughtful Angel (Second Version) (1993) bronze signed and dated 111 x 60 x 56 cm PROVENANCE Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above in 1996 EXHIBITED Inge King: Angels and other Bronzes,Australian Galleries, 9 August - 3 September 1994, no. 7 Inge King: Sculpture, Australian Galleries, Melbourne, 2-28 September 1996, no.9 LITERATURE Judith Trimble, Inge King: Sculptor, Craftsman House, Sydney, 1996, pp. 164, 206 PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE

        Smith & Singer
      • INGE KING born 1915 Two is a Crowd 1985
        Sep. 23, 2014

        INGE KING born 1915 Two is a Crowd 1985

        Est: $90,000 - $120,000

        INGE KING born 1915 Two is a Crowd 1985 powder-coated steel 100.0 x 128.0 x 104.0 cm (overall) element i: 101.0 x 100.5 x 52.0 cm element ii: 93.0 x 92.5 52.0 cm This work is the second version of a larger work of the same title

        Menzies
      • INGE KING born 1918 Windspirit 1998 bronze
        Jul. 29, 2014

        INGE KING born 1918 Windspirit 1998 bronze

        Est: $6,000 - $8,000

        INGE KING born 1918 Windspirit 1998 bronze 29 x 45 x 40 cm PROVENANCE Australian Galleries, Melbourne (label attached) Private Collection, Melbourne EXHIBITED Smyrnios Gallery, Melbourne CHECK PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE

        Smith & Singer
      • INGE KING born 1915 Fiesta (Maquette) 1989- 90
        Oct. 31, 2013

        INGE KING born 1915 Fiesta (Maquette) 1989- 90

        Est: $30,000 - $40,000

        INGE KING born 1915 Fiesta (Maquette) 1989- 90 polychrome steel 70.0 x 82.0 x 38.0 cm signed with initials to base: i.k

        Menzies
      • Inge King born 1918 JESTER bronze
        Aug. 28, 2013

        Inge King born 1918 JESTER bronze

        Est: $4,000 - $6,000

        Inge King born 1918 JESTER bronze DIMENSIONS 57.0 cm height PROVENANCE Australian Galleries, Sydney(label attached to base) Collection of Lex Aitken andAlfredo (Bouret) Gonzalez, Sydney

        Deutscher and Hackett
      • INGE KING born 1918 Two is a Crowd 1985 element i:
        Sep. 13, 2012

        INGE KING born 1918 Two is a Crowd 1985 element i:

        Est: $80,000 - $100,000

        INGE KING born 1918 Two is a Crowd 1985 element i: 101.0 x 100.5 x 52.0 cm element ii: 93.0 x 92.5 52.0 cm This work is the second version of a larger work of the same title

        Menzies
      • Inge King (born 1918)
        May. 29, 2012

        Inge King (born 1918)

        Est: £4,000 - £6,000

        Angel incised 'IK' underneath painted steel 60.0 x 25.0 x 25.0cm (23 5/8 x 9 13/16 x 9 13/16in).

        Bonhams
      • Inge King (born 1918) Untitled welded steel and bronze wall sculpture
        May. 08, 2011

        Inge King (born 1918) Untitled welded steel and bronze wall sculpture

        Est: $1,000 - $2,000

        Inge King (born 1918) Untitled welded steel and bronze wall sculpture 23cm (height) PROVENANCE Gift from the artist

        Leonard Joel
      • Inge King Blue and yellow, 1985 painted steel
        Aug. 04, 2009

        Inge King Blue and yellow, 1985 painted steel

        Est: $4,000 - $6,000

        Inge King Blue and yellow, 1985 painted steel sculpture 30 x 60 cm

        Artemis Auctions
      • Inge King (born 1918) Untitled 1998 screenprint
        Apr. 19, 2009

        Inge King (born 1918) Untitled 1998 screenprint

        Est: $100 - $200

        Inge King (born 1918) Untitled 1998 screenprint A/P signed and dated 'Inge King 98' lower right editioned lower left 49.5 x 32cm Proceeds of this lot will be donated to the North Warrandyte CFA.

        Leonard Joel
      • KING, Inge Pegasus 1991 Bronze Approx 36cm wide
        Mar. 02, 2009

        KING, Inge Pegasus 1991 Bronze Approx 36cm wide

        Est: $3,000 - $5,000

        KING, Inge Pegasus 1991 Bronze Approx 36cm wide Provenance Australian Galleries Melbourne, 1993 x 36 cm

        Mossgreen Auctions
      • KING, Inge Blue and yellow ? 1985 Painted steel
        Mar. 02, 2009

        KING, Inge Blue and yellow ? 1985 Painted steel

        Est: $5,000 - $8,000

        KING, Inge Blue and yellow ? 1985 Painted steel sculpture Provenance Australian Galleries Melbourne 60 x 30 cm

        Mossgreen Auctions
      • INGE KING (B. 1918)
        Apr. 10, 2006

        INGE KING (B. 1918)

        Est: $9,000 - $12,000

        Voodoo polychromed steel 170 x 15 x 10 cm Executed in 1987

        Christie's
      • INGE KING (b. 1918)
        May. 06, 2003

        INGE KING (b. 1918)

        Est: $16,250 - $22,750

        Balance of Steel Forms black painted steel 207 x 43 x 119 cm Executed in 1971 - 1972 PROVENANCE Commissioned by Kim Bonython for The BHP House Collection, Melbourne.

        Christie's
      • INGE KING (b. 1918)
        May. 06, 2003

        INGE KING (b. 1918)

        Est: $18,200 - $22,750

        Euridice black painted steel 207 x 45.5 x 31 cm Executed in 1965 PROVENANCE Acquired directly from the artist by BHP Pty Ltd, Melbourne in 1967 LITERATURE Art Gallery of New South Wales, Centre Five Contemporary Sculpture, Sydney 1965, illus. (unpaginated) J Zimmer, Inge King Sculpture 1945 - 1982 A Survey, Melbourne, 1982, illus. p. 51, ref, p. 11 J Trimble, Inge King Sculptor, Sydney, 1996, illus. no. 34, p. 58, ref. pp. 51 - 59 EXHIBITION Sydney, Art Gallery of New South Wales, Centre Five Contemporary Sculpture, 6 - 24 October 1965, cat. no. 4 Tokyo, Expo, 1967 NOTES Judith Trimble wrote of this work "... Euridice was produced in maquettes of steel and copper, and in bronzed steel during 1964 before the final, full scale, black painted steel sculpture was realised in 1965... Euridice presents different compositions from all sides, appearing as a dense compaction of thick, flat, irregular steelplates, and, from some viewpoints, sometimes as enfolding curved plates around a tall, spatial core... (its) density in some views suggests an organic character formed by molten metal, rather than assemblage. By 1965 such expressive monumentality has become the dominant aspect of King's Abstract Expressionism." (J Trimble, op. cit, p. 59).

        Christie's
      • INGE KING (b. 1918)
        Nov. 25, 2002

        INGE KING (b. 1918)

        Est: $2,795 - $3,913

        Untitled welded steel 39 cm high (including base) PROVENANCE Acquired directly from the artist by the present owner circa 1964.

        Christie's
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